Dr Jones' Roundup
by jones
It is always a joyous occasion when we, as music fans, 'discover' a new band. It's like welcoming a member
to the family; with them these ensembles bring new messages, sensations and emotions. With every addition, we
all become a little more complete.
Such was the case when I not only discovered a new band but a whole new dimension of music after seeing
a group with a silly-willy name open for Anthrax in 1998. Up until that point it was all bullet belts, black
T-shirts, strained necks and devil horns. But, what Fu Manchu showed me that night was something so
refreshing and so honest, that the rest of the story is pretty much history.
This music, this "Stoner Rock," was something I feltI could really sink my teeth into.
Now, here I am, damn near seven years later, and still chewing away. I sincerely respect how tightly
knit the 'scene' was back in the 90's, and am really bummed that I missed out on it.
However, that's not going to get my panties in a bunch or get in the way of trying to involve myself
now. For that reason I am grateful to be a contributor for Roadburn. Ever since this site beamed
me aboard, I've been blessed to hear many great new bands.
I look forward to this ongoing quest of musical self-completion, and, frankly, it's my hope that
I [all of us, for that matter] never fully attain it. Why? It's because, that's what makes us true fans of music.
Hey, now! Take that to bed with you tonight. Music is alive, brothers and sisters! Music is alive and
it's doing well.
There have been no sightings of the creature Sasquatch anywhere in the desert. Nor have there been any
sightings anywhere close to the Southern U.S. NO! The dozens of "eye witness accounts" have
come from the vast, foreboding northern forests of California. So, to describe the band
Sasquatch's debut "S/T"
album as a typical desert stoner rock would be false.
It is also easy to assume that, being a power trio, their sound could have the typical deep-fried southern
accent to it. This is also false. What Sasquatch offers with their self-stiled debut release
for Detroit's Small Stone Records is nothing
revolutionary, only a minor tweak to the typical "desert sound": Girth.
A tweak like this, if handled properly, can make a world of difference. And this they have done. Said girth
provides that feeling of wondering aimlessly around dense woodlands without a map or compass.
All the while, having that constant feeling that someone, or something, is looming right behind you.
This album has a lot of mass, something redwood trees have plenty of.
At first I dismissed the various sampled tracks scattered throughout. But, upon further examination, these are
appropriately placed to maintain a necessary level of mysticism.
This S/T release has a perfect sense of pace. None of the songs are too long. And the album, as a whole, clocks
in at a very reasonable 39 minutes. Sasquatch has built themselves a steady platform for
many to come. There is a great deal of promise, here. These chaps have stylistically moved
the sound of "stoner rock" up north. And I like it.
I really can't decide if I'm down with Zebulon's "Troubled Ground"
or not. The band has a rich musical history that is very easy to appreciate and admire.
Experience doesn't mean a hill of beans, though, when things go wrong. The actual recording process of the aptly titled as "Troubled
Ground" [ out on People Like You Records ] looks like it was a tremendous burden. But, it was the love of making music that kept them
pressing on. It just sucks that after all that effort they created an album that doesn't offer all that
much.
This is not an album to blow off; the music just doesn't speak the volume that it sounds
capable of. It's catchy, and I will listen to this every now and then. But overall, nothing really
stands out or sets them apart from all the other guitar driven music out there.
Dexter Jones' Circus Orchestra's "S/T"
album is a beautiful blend of amazing poetry and music [think Masters of Reality meets The Desert Sessions, think
Captain Beyond meets Kings of Leon -ed.].
Upon the third or fourth listen, the lines "I've got to catch a flight/To the other side of the world/And go to bed with your
girl, yeah!" caught my ear. Those words opened my mind to everything else this S/T has to offer
that I just didn't hear beforehand. How foolish I was! It is vital that the lyrics are read along with
the music, for they speak volumes.
The music is also very invigorating. Each track is played with utmost confidence. The acoustic songs have
just as much energy as the songs where the amps are turned up. Everything melts together to form a
coherent and tasteful display of true talent. Hell, I'll go as far to call Dexter Jones' mature.
This S/T disc [ released through Holland's Freebird Records ] is an absolute pleasure. It
is occasional gems like this album that re-assure me that good music is alive and well. I look
forward to their future releases.
One word popped into mind when listening to Mezzanine's
new release: SLAMMIN'!! This shit is slammin'! I like this. I like this a lot. Yes, they may hint at the sounds of C.O.C., but I happen to
enjoy C.O.C. Therefore, I happen to enjoy "American Burnout"
[ Buzzville Records ].
The guitars really pack a wallop! At time they seem to almost hum -not a guitar trait I'm too enthusiastic
about, but these guys make it work. I really dig how there is a serious amount of musicianship within
this CD.
"This Is The Zodiac Speaking" is what would happen if Dream Theater got into a bar brawl with
Scissorfight. AWESOME!
The vocal stylings of Joe Carpenter are enough to show how hard-fucking-core these guys are: That last
bellow on "Write Your Name In Dust" is enough to make someone foam at the mouth with eyes glowing blood
red. KILLER!
These guys don't fuck around. Just read the biography link on their, [ webpage ]
it's all right there. And you can HEAR that they mean everything they say. Indeed. Mezzanine
walk it like they talk it.
Here's a double-decker review from Go Down Records - two of three signed
bands to be exact. Our first slice is the typical heard-it-so-many-times-before-it's-almost-retarded-but-still-play-it-during-parties-as-background-noise-rock 'n roll
is OJM with "The Light Album."
I have a soft spot for this kinda music, a weakness if you will. Any elitist prick will immediately write
this off as another 'clone' and pay no attention to it afterwards.
Well. Yeah, it is a sound that's been heard before. But, COME ON! Ultra-thin neckties, sunglasses, catchy vocal melodies, harmonicas, poppy
guitar tones, liberal use of tambourines, backing vocals. It screams for a good time, dude! And, as far
as I'm concerned, clone-band or not, a good time is all that really matters.
The next band is Italy's Alix with their disc "Ground."
First things first; I don't like the vocal stylings of Alice. This little vibrato thing she
does every now and then sounds terrible to my ears. I'm sorry, but I just could not sit through
the entire album; "Fun" is a good track and "I Still Wanna Have Fun" too, but it's hard to
have fun when I'm not particulary enjoying "Ground" as a whole. It's just too avarage
for my taste, but it could be an appealing album for those who like stonerrock-by-the-numbers.
And yet, another record label sampler platter. "The Black Wing E.P"
comes from 4 Walls Records, and has
three bands playing two tracks each. Most notably is the first two tracks coming from our friend
Dirty Dave's [The Glasspack] sideband Dirty Bird.
"Some might ask, 'Is Dirty Bird a garage band?' Hell No! This is storage shed zombie rock at it's finest. The equivalent to the soundtrack of a slasher film." Right on!
Why try and merge into an already existent sub-genre of music when you can fuckin' make your own and reign
supreme!!! HELL YEAH! It leaves lots to the imagination, just like those old school movies -Feast upon
these brains, my darling, don't be shy.
The next two tracks come from Graviton. It's a decent mix of fuzzed out, unpolished heaviness. There's not a
whole lot to be mentioned, though. A great little guitar lead in the first song. It sounds as though
they slay live.
Finally, Birdwing: I like the combination of the presence of music while Daniel Stearman's vocals have the
reverb on it. If that's not done properly it would sound like shit, but this sounds pretty good. The guitars
sound real processed, so, take that as you will. Kind of boring, but, that's my opinion.
Last, but most certainly not least.
Serving as more of a tease than anything else, UK's The Heads bring
us "At Last!" [ out on Rocket Recordings ]. Another adventure to expand your
mind!
This is the closest any Citizen of America will get to experience The Heads live. It gives a
glimpse into a fanatical, spur-of-the-moment, living and breathing extravaganza. It sounds great. And
not to mention, looks great! Your eyes will explode if you stare at the cover long enough.
Also, at least with the LP version, there came an insert explaining the origins of this release. Reading this, it's
easy to see that these boys know what they're doing.
Also, it is with utmost respect and sincere reverence that I declare The Heads as one of the most
important bands in existence. It takes groups like this to keep us on our toes. Listeners are
constantly on high alert whilst experiencing the kind of blissful paranoia that
they produce all too well. To know and enjoy The Heads means that you too think out of
the box.
Elektrohasch Records
by xander77
Following from Dr Jones' Roundup I should mention the release of several
albums through Elektorhasch Records, Stefan
Koglek's [of Colour Haze-fame] label.
First off the block we have Los Natas'
"The Munchen Sessions."
Recorded and produced by Koglek in 2003 during the band's first ever European tour, the
album captures the much acclaimed trio from Buenos Aires in a live setting
jamming their way through four extended tracks, equally spread over two
CD's.
Unfortunately, the album's highlight is a cover of Hawkind's "Brainstorm", called "Tormenta
Mental" [originally recorded for Small Stone's "Sucking The 70's" compilation and also released
on 7-inch by Black JuJu Records.] The rest of the album [including a jam with Koglek] isn't bad either, but
the extended jams on offer are less compelling than the amazing rendition of this classic
Hawkwind track.
"The Munchen Sessions" doesn't add anything spectacular to Los Natas' impressive album-catalogue, but
it's a good representation of what the band is capable off on stage.
Next up is Hypnos 69's third
album, "The Intrigue of
Perception", which is a truly beautiful record that combines elements of classic rock, free jazz, and
sensitive vocal stylings. These Belgium cats only crank up the amps to add vibe to their
take on powerful late 60's/early 70's rock -the sound of "The Intrigue of Perception" comes
close to "Trust Us"-era Motorpsycho.
Luckily Hypnos 69 also know what good songwriting is all about. Add to that the use of
diverse instrumentation such as organ and saxophone along with the standard guitar, bass
and drums and it becomes clear that the album is a winner.
LISTEN TO THIS IN 2005
by Neddal Ayad
25 Suaves- "I Want It Loud"
Bulb/Bastard Son
On this, the follow-up to last year's excellent "1938" the
25 Suaves have
changed things up a little: They've gained a member, bassist Dave Sahijdake;
they've tightened their sound considerably; and most importantly discovered
METAL. This means that everything on this disc is bigger, meaner, and yes,
louder, than anything they've done previously.
The change is apparent from the opening track, "Turn Up The Music" which has
an up-tempo 'Priest meets Motorhead vibe and sets the tone for the rest of
the album. The 'Suaves give the disc a good sense of pacing by throwing in a
surprise such as the sludgy "Born Dead" about every third song.
Most bands treading these waters fuck it up somehow, either they do everything with a
wink and a smirk, they take it too seriously or worst fall they just don't
get it. The 'Suaves manage to avoid these pitfalls by playing it loud, mean,
and with a snarl.
Can - "Monster Movie", "Soundtracks", "Tago Mago" & "Ege Bamyasi"
Mute Records/ Spoon Records
I something to admit: before receiving this set of
Can re-issues
I'd heard exactly one Can song. I was aware of them, I'd read a few articles about
them, I'd read chapters in books about them, seen books devoted to them,
heard other musicians rave about them, but somehow I never got around to
checking out an album.
So I feel like I'm at a bit of a disadvantage when writing about these discs. For example, I have
no idea how SACD sound quality compares to the original vinyl and CD releases. I haven't had years
to familiarize myself with the albums and believe me, there is a lot of
material to take in over these four albums.
On the other hand, sometimes an outside perspective can be a good thing. One
thing that jumped right out at me was that the music isn't that strange.
Can fanatics would have you believe that what they were doing on these early
discs was totally divorced from the rest of the music current at the time;
"The music was like nothing I'd ever heard before, not american [sic], not
rock 'n' roll, but mysterious and European, a true occult sound", writes
Primal Scream's Bobbie Gillespie in the liner notes to "Tago Mago."
It's not that I put much stock in what Gillespie has to say, but a lot of writing
about the band is similarly breathless. The truth of the matter is that
while Can certainly had their own sound, their music certainly isn't far
removed from their more experimental contemporaries; Hendrix, The Doors, The
Velvet Underground, the Stooges, and late-period Beatles.
What they did do was come at the rock from a different angle; they weren't a
"rock" band in the typical sense of four or five guys from similar
backgrounds working their way from R&B covers to original material. They were
classical and free jazz musicians looking to escape.
One of the things that jumps right out at the novice listener is what an
incredibly tight rhythm section the band had in bassist Holger Czukay and
drummer Jaki Liebezeit, just check out the awesome groove on the epic "Yoo
Doo Right" from "Monster Movie", or the samba-like beats on "Don't Turn the
Lights On, Leave me Alone" [and note its resemblance to the Rolling Stones'
"Sympathy for the Devil"] from "Soundtracks", or the bizarre-funk of
"Halleluhwah" from "Tago Mago."
It also becomes apparent just how much of an influence Can were on our
little subgenre, especially on the loose conglomerate of musicians from Palm
Desert responsible for it's "modern" incarnation... The Can influence is
especially prominent on the first couple of Queens of the Stone Age EP's
and the self-titled CD, and the band has admitted as much.
So, where to start? The consensus seems to be that "Tago Mago" is the Can
disc to have. I'm not quite sure, having sat down with all four
discs. "Monster Movie", and "Soundtracks" have
an edginess that seems to have been curbed by "Tago Mago", or it may
be that "Tago Mago", originally issued as a double album is too much of a good
thing [although it does contain the afore mentioned "Halleluhwah"]. "Ege Bamyasi" has the
ominous, almost broken sounding, yet strangely funky "Spoon."
And that's the problem. All of the discs have something to recommend them.
Of course fans of the band are going to want them all, for those new to the
band I'd suggest starting with "Monster movie" and then moving on to "Tago
Mago" and if those discs grab you, moving on to "Soundtracks" and "Ege
Bamyasi."
Fireballs of Freedom - "Greasy Retrospective"
Wantage Records
It's hard to believe, but the Fireballs of Freedom have been
around for almost ten years [longer if one counts the "Honky Sausage" years]. I was first turned on to
them about four or five years ago when a band mate of mine dubbed me a copy of "Total Fucking Blowout."
It rocked harder than just about anything going at the time, and this was at a time when there was a
lot of solid rock 'n' roll being recorded.
This compilation collects tracks from their first couple of singles, released on Wantage
and Empty records; unreleased tracks from the sessions for those singles; recordings
from the "Honky Sausage"- era of the band along with the earliest stuff recorded after the
name change; and some more recent material recorded with Tim Kerr.
One thing that becomes apparent is that the Fireballs... had their sound in place from day one. If
the dates and recording info weren't listed on the sleeve, it would be next to
impossible to guess which songs were recorded when. That's not to say that everything sounds the
same, but the Fireballs are a band that found their sound and stuck with it.
And what a sound! They play a messy, angry, and scrappy mix of punk, southern
rock and old fashioned hard rock. It's not a sound that's derivative of any one band; over
the course of a song you'll catch a nod to U.S punks like The Germs, Pagans, or
Black Flag; there'll be a solo that brings to mind Lynyrd Skynryd, a darker section that
conjures early 'Sabbath, another that invokes vintage Alice Cooper. It's a heady
mix, and good stuff.
Unlike a lot of "odds and sods" collections, this disc holds together as an album
and makes an excellent place to jump in and get to know the Fireballs of Freedom.
The International Playboys - "Sexiful"
Motron Records
If this disc had arrived in my mailbox a month earlier, and I had done of 2004 list, it would
have been on it. As it stands, it's an early contender for my "Best of 2005," provided that
I don't succumb to list overload again next year.
What's so great about the disc? The International Playboys play
raw, sex-addled rock 'n'roll. There don't seem to be any gimmicks, just five guys and
a whole pile of killer riffs and catchy tunes.
The music is a sauntering, swaggering mixture of riffs lifted from Aerosmith, the New
York Dolls, and AC/DC. The singer, Monty Carlo, I don't want to say he makes the band, but he
somehow manages to sound like Bon Scott, Janis Joplin, Taime Downe, and the guy from
Nazareth rolled into one. That's not to diminish the rest of the band
though, as they absolutely rip.
What really makes the disc for me, is that the band has balls. How many bands
would have the balls to straight-faced cover Gladys Knight and the Pips
and Nazareth on the same disc? How many could pull it off? Very few. The International
Playboys do it, and do it with style.
The Juanita Family and Friends - "S/T"
Family Plan Records
The Juanita Family and Friends consist of Lana Rebel from the
math / metal band Last of the Juanitas and a
bunch of friends [thus the name] getting together to lay down some traditional
sounding country music.
Now a lot of Roadburners might wonder why I'm writing about what, for all
intents and purposes, is a straight up country record. As I'm sure some of our
more musically adventurous readers know, country music and doom have
quite a bit in common [Stop laughing].
Songs about alienation, loss, and altered
states [booze mostly, in country music, everything else in the doom] are the
meat of both genres.
The songs move along at similar tempos, and when done right both
will make you cry [ok, not so much crying with the doom, but you know what I mean].
Back to the Juanita Family and Friends... They're a surprisingly good country band.
Lana Rebel has a sweet, sad voice perfectly suited to the tales of longing, heartache, and
loneliness she spins in her lyrics.
Her backing band is loose enough to give the music an edge, without ever devolving
into sloppiness.
The disc has the vibe of a late night / early morning jam session, and makes
for great late night / early morning listening. Especially those late
nights / early mornings when you've been out too late, had too much to drink, and can't
take Jus from Electric Wizard screaming about zombies.
Hopefully this disc will entice some people into checking out similar stuff by Neko
Case, Gillian Welch, and Dwight Yoakam, and maybe prompt them to dig a
bit a bit further back into the music of Patsy Cline, Hank Williams, and
Loretta Lynn.
Write the Juanita Family.
Lost Sounds - "S/T"
In the Red Records
When I first heard this disc a verse from The Misfits' "All Hell Breaks
Loose" came to mind, "I send my murdergram / To all these monster kids
It comes right back to me and it's / Signed in their parents' blood
And broken bodies in a death rock dance hall / Please be my partner
And eyeballs pop, accelerated blood beat / Veins a-shaking..."
The Lost Sounds would be the perfect band to play that
'death rock dance hall.'
The band refer to what they do as 'black wave' [black metal + new wave =
black wave]. It's a fairly apt description, as they do take the cold,
isolated vibe of black metal and marry it to the cold, isolated vibe of new
wave.
Black metal fans may be disappointed however, as the Lost Sounds lean
more towards the "new wave" side of the equation; the disc is bursting at
the seams with ultra catchy keyboard hooks and piles of melody [although the
songs "Ophelia" and "We're Just Living" have some nasty riffing].
At times the Lost Sounds bring to mind a science fiction obsessed Murder City
Devils -check out "Clones Don't Love", "Let's Get Sick", and "And You Dance."
The Narrows - "Alligator"
Wantage Records
I wrote about the Narrows most
recent full-length, "The Skull at Life-Size" in an earlier Roadburn update. "Alligator" collects their
first two records, "Days are Numbered" [2000] and "Six Ten" [2001]. The music is in the
same vein as "The Skull at Life Size," heavy, oppressive riffs along with warring vocals
that alternate between broken voiced singing and more intense almost-screaming.
The lyrics revolve around alienation, recrimination, self-disgust, and crumbling
relationships. It's heavy stuff, emotionally and musically, and fits
nicely next to your Floor, Slint, Slow-Horse, and Codeine records.
Quick Shots:
Gin Palace's debut full length
"Kicking On" picks up exactly where last year 's "Kill-Grief" e.p. left off
with their savage, staggering blend of Black Flag, Black Sabbath, and The Cramps.
Speaking of which of The Cramps. This
past fall The Cramps released "How to Make a Monster" a
2xCD set of demos and early live shows. This is The Cramps at their most raw, and that's saying
something. Fans will be all over this, newcomers might want to start with one of the studio albums.
This past fall also saw the release of Growing's "The Soul of
the Rainbow and the Harmony of Light", their follow-up to last year's "The Sky's Run
Into the Sea" [which was one of my favourite, if not my favorite record of
2003].
On this new disc the band lets things swing a bit too far over into ambient territory, losing a
lot of the urgency that made "Sky's Run." so great. Still, "The Soul." is better than a good 90% of
what's out there, so it's definitely worth a look.
On their disc "Character Assassins" Missoula,Montana's Ass-End Offend deal
in brutal hardcore / punk rock that bridges the gap between old-school Poison Idea-inflected
hardcore, the crustier crossover stuff from the early to mid-nineties, and the more
recent crop of hardcore bands influenced by the rosters of labels like Hydra Head and
Deathwish Inc. This is music for breaking things -walls, windows, people... and is great
for those days when you're pissed at everyone and everything.
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